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  2. 2. FUTURE OF MOBILE GAMING EMERGING TRENDS 1. Mobile game brands The widespread success of Pokémon Go last year, as well as the release of Super Mario Run, have set the pace. The growth of brands in the future will likely center on a more integrated marketing approach, bringing together channels like social media, influencers and celebrities, as well as still- and motion-picture techniques. 2. Free to play – free to start Casual gamers, who make up the bulk of the mobile gaming audience, are typically reluctant to spend money for a game they likely won’t play for more than a few days. Therefore, fixed price tags are rarely an option for mobile game makers, and instead, Booster Packs and IAPs (in-app purchases) have taken center stage as the primary source of revenue. 3. Multiplayer and social features Technology has been consistently moving towards deeper social engagement, and games haven’t been left behind. Today, games are now social havens where like-minded people can meet and interact while blowing off zombie-brains and exploring post-apocalyptic cities. 4. Mobile eSports Traditionally, eSports have been reserved almost exclusively for the PC and console market. In recent times, however, mobile gaming seems to be making inroads in the space. Spearheading the bold move are Vainglory and Clash Royale, both which are paving the way for a new generation eSports games, tailored for and better-played on mobile. 5. VR and AR Virtual reality kicked into high-gear last year when the HTC Vive, the Oculus Rift, and the PlayStation VR hit the shelves. However, not everyone is able to afford these, the Samsung Gear VR offered users more than decent virtual reality experience. The release of the Daydream View was yet another plus for the mobile gaming industry.
  3. 3. REALITY OF THE ‘CONSOLE DECLINE’ • The console market has suffered decline particularly during the past three years, with a thinning out of big-box publishers like THQ and Midway, and the closure of successful development studios responsible for some of the best-loved franchises in the business. • Many commentators see this, along with plummeting retail sales, as the beginning of the end of the console business, as more developers move to mobile, PCs and tablets, shunning high game prices for free-to-play services, value for money bundles and app stores that offer distribution opportunities to millions of consumers.
  4. 4. HOW DOES PC GAMING FARE IN THE OVERALL MARKET? • With $32.3 billion in revenue, PC gaming made up 28% of the industry’s $116 billion value in 2017. • Boxed PC games still drew in $3.2 billion, while the similarly shrinking browser game market earned $5.2 billion, with the remainder of revenues earned through digital sales of standalone games and add-on content. • Overall, both PC and console games saw growth this year just under 4%, with the latter portion of the industry accounting for 29% of annual revenue. • the mobile market had explosive growth this year, with 23.3% year over year growth to $50.4 billion in revenue, accounting for 43% of the industry’s total revenue.
  5. 5. IS VR BECOMING MORE MAINSTREAM? • Between their (Samsung–and Facebook) launches last year and the end of March, according to SuperData Research, consumers had purchased a combined total of about 7.7 million of the five most high-profile VR headsets—the Gear VR, Sony’s PlayStation VR, Google’s Daydream View, HTC’s Vive, and the Oculus Rift. • Even though SuperData predicts that those numbers will rise to 15.9 million total headset sales by the end of 2017, those are not the numbers of a mainstream technology, especially considering that other data suggests little regular usage of those VR systems.
  6. 6. • Many consumers believe the VR gear, especially high-quality systems, costs too much. The Vive, for example, costs $798, while the PSVR and Rift run $398. All three systems require being tethered with pricey computing hardware, either gaming-quality PCs in the case of the Rift and Vive, or the PlayStation 4 for the PSVR. • While mobile systems like the Gear VR or Daydream View are fairly easy to use, they still require frequent updates, and continue to appear bulky in size.
  7. 7. HOW MARKETERS ARE STEPPING INTO THE WORLD OF VR • VR provides consumers with a platform to interact with a brand in a more personal way and has proven to be a beneficial tool for marketing, education, web design and other spheres of work. • A number of big brands have already started to benefit from this technology. IKEA uses VR in its app, giving buyers the option to virtually check how the furniture will look in their house without visiting the store. • Another big brand is Oreo. In order to promote its newly filled cupcake-flavored cookies, the brand created an animated virtual video where users can experience the magical fantasyland complete with chocolate canyons and milk rivers.
  9. 9. HOW HAS TECHNOLOGY CHANGED GAMING?1. Artificial intelligence has grown by leaps and bounds. Computers have earned to play dozens of vintage video games without any prior help in how to achieve human-like scoring abilities. The intelligent machine learns by itself from scratch using a trial-and-error approach that is reinforced by the reward of a score in the game. This is fundamentally different to previous game- playing “intelligent” computers- it’s already gotten to the point where it is training a computer-controlled player to act like a human. An example being, The Deep Q-network which has learned to play Space Invaders and Breakout. 2. Online play ‘is the icing on the cake’ The evolution of MMORPG (Massively Multiplayer Online Role Playing Game), has meant online gaming has become an entirely different experience today. At present, gamers can engage and play with fellow gamers online regardless of their geographical locations. An example being, ‘All Slots Casino’.
  10. 10. 4. Graphical upgrades are so much enhanced Technology has apparently allowed for enhanced graphics by means of hardware upgrades. Today is the scene of high-speed hardware, which allows for more instructions, pixels, and shading—even on an enormous scale. An example being Minecraft. 5. Portability has made gaming convenient Gaming consoles were miniaturized and made easily transportable, meaning people could now game anywhere any time. But the uniqueness about being able to game any time anywhere is just undeniable. 3. The third dimension looks wonderful Now, most games are three dimensional games, as opposed to the two dimensional games which only consisted of top-down, platformers, and views. Third dimensional games have the betterment of graphics software, and they are even looking better. The stride to the third dimension has changed something fundamental regarding the way games look and feel. An example being, Penelope; a 3D Game
  11. 11. 4 TECHINCAL IMPROVEMENTS IN GAMING 1. ONLINE PLAY Connects people with other like-minded gamers from all over the world. 2. BETTER GRAPHICS As 3D games and VR games become more and more popular, we’ll be able to experience games in a way that was hard to imagine just a few shorts decades ago. 3. GAMES ARE EVERYWHERE The ease of access, free downloads and a wide range of games, from learn to read games, to playing real casino games and everything in between. 4. CLOUD BASED TECHNOLOGY Freeing up space on the computer, phone or game console, cloud based technology will make games more accessible for everyone.
  12. 12. REGULATION • There's no specific law that prevents parents from letting their kids play violent or sexualised video games. • The Classification System that applies to video games in the UK: Previously, the UK used a combination of PEGI (Pan-European Games Information) ratings and BBFC (British Board of Film Classification) classifications. Now however, only the PEGI system is used (unless the game is rated R18 – pornographic, in which case the BBFC is still involved). • In July 2012 it became the Video Standard Council's (VSC – operating under the name GRA – Games Rating Authority) legal responsibility to rate games.
  13. 13. ASSASINS CREED - MARKETING AND REPSONSE IN JAPAN, EUROPE AND AMERICA • Ubisoft's chief sales and marketing officer Geoffroy Sardin “We wanted to address and involve the consumer in advance, especially digitally. And through the marketing website to have direct contact in advance with the dev team, through our forums and community tools. To ask the community what they want and what they don't want. What they understood and what they didn’t.” • The new setting and hero helped towards that goal, giving people who perhaps weren't familiar with Ezio an entry point into the franchise. Also key was finding ways to reach people using new media, both social and mainstream.
  14. 14. • Within the UK, the company decided to use new media with the media. They supported in the summertime a huge campaign of advertising in the cinema, using a new type of communication based on the RISE CAMPAIGN, a short movie using new emotions in the communication for the brand. • All social websites and the Facebook front page was used, as they recruited more than 2 million people, and more new fans. This paved the way for media, quality and social websites. • The marketing strategy was focused on consumer point of view in advance. The money was spent before the launch, as that the game was first revealed in March, a full nine months before release. “Another thing that is very important for the lifecycle is the transmedia offer. All the figurines, the books, the publishing, and we have a movie in the next coming year. So it's not only about games, we are talking about a global brand, and this is the life cycle management we want to set up now.”
  15. 15. SALES FIGURES DECEMBER 2017 • For the quarter, Ubisoft posted €725.0 million ($890.73 million) in revenue, up 36% year-over-year and well above both the publisher's original and revised revenue targets. Among the studio's major releases for the quarter were Assassin's Creed: Origins and South Park: The Fractured But Whole. • Assassin's Creed in particular was singled out for praise by the company, which noted that it was the third-best seller in the Europe, Middle-east and Africa region last year.
  16. 16. DEFINITIONSMMORPG – an online role-playing video game in which a very large number of people participate simultaneously. An example : World of Warcraft 2004 Persistent Worlds – is a virtual world which "continues to exist and develop internally even when there are no people interacting with it“ An example: Neverwinter Nights 2002 CRPG – Computer Role Playing Game) Role playing on the computer, typically in a fantasy environment, although some take place in a medieval setting. A major characteristic of CRPGs is the user's ability to move freely throughout the venue. An example : The Banner Saga 2014
  17. 17. Augmented Reality -a technology that superimposes a computer-generated image on a user's view of the real world, thus providing a composite view. An example: Pokémon GO Avatar – An avatar is a personalized graphical illustration that represents a computer user, or a character or alter ego that represents that user. An avatar can be represented either in three- dimensional form (for example, in games or virtual worlds) or in two-dimensional form as an icon in Internet forums. An example: Pokémon – Nintendo video game
  18. 18. APPEAL OF VIDEO GAMES • It allows people to connect through a range of platforms; e.g. Xbox and social media ; Facebook, Twitter, Snapchat etc. • It allows an individual to challenge themselves through competition, as there as an opportunity for a single player to vs a multi player. • The intertextuality allows an individual have a sense of escapism as the persistent worlds within a game, allow this to happen. • Avatars allow an individual to have no constructed boundaries, as tge virtual world allows a person to be in control of their own actions, regardless of how dangerous.
  19. 19. TRAILER - MARKETING • The trailer starts of with the ‘Pegi 18’ logo confirming and informing the consumers, who the ‘Assassins Creed’ video game is targeted to, thus their audience. • The French video game publisher ‘Ubisoft’ is featured at (0:08) within the trailer, to inform the consumers. • The narrative of the trailer being of a young girl, whose mother was a slave and father being a white man of ‘opportunity and wealth’. The young girl thus goes on a mission to be a symbol of hope for the enslaved, and become an ‘Assassin’. The narrative used is a powerful one, as it explores topical issues of slavery and inequality.
  20. 20. • The lead character is both a female and of colour, allowing the game to appeal to more people, therefore allowing the target audience to be expanded. • The use of heightened dramatic sounds, with pauses allows a feeling of suspense to be build, intriguing a consumer about the game. • The use of visuals and colours also allow the audience to gain a feel for the game, allowing them to be in control of whether they want to buy the game or not.
  21. 21. • The use of written text also features throughout the trailer; • ‘ALL NEW MISSIONS’ being presented at (1:16) • ‘UPGRADED LEVELS AND ENVIRONMENT’ at (1:19) • ‘REFINED GAMEPLAY’ at (1:23) • ‘A TRUE HD EXPERIENCE’ at (1:26) • With the actual name of the game being presented right at the end at (1:44) ‘ASSASINS CREED LIBERATION HD’
  22. 22. BOBO DOLL EXPERIMENT • Bandura, Ross, and Ross (1961) tested 36 boys and 36 girls from the Stanford University Nursery School aged between 3 to 6 years old. • The researchers pre-tested the children for how aggressive they were by observing the children in the nursery and judged their aggressive behaviour on four 5-point rating scales. • The Bobo Doll Experiment was performed in 1961 by Albert Bandura, to try and add credence to his belief that all human behaviour was learned, through social imitation and copying, rather than inherited through genetic factors.
  23. 23. RESULTS: • Children who were exposed to the aggressive model were more likely to show imitative aggressive behaviour themselves. • Prediction four was proved correct in that boys were nearly three times likely to replicate physically violent behaviour than girls. • The measurements for verbally aggressive behaviour again showed that children exposed to aggressive role models were more likely to imitate this behaviour. The levels of verbal aggression expressed were about the same for boys and girls.
  24. 24. BOBO DOLL EXPERIMENT APPLIED TO ASSASSINS CREED III: LIBERATION • Bandura’s ‘Bobo Doll Experiment’ can be applied to ‘Assassins Cred III : Liberation’, as it can be argued that children who are exposed to the aggressive nature in the game are more likely to show imitative aggressive behaviour themselves. Assassins Creed III : Liberation deals with lots of violence and hatred towards a specific group of individuals, being white men. As the game features a mature subject matter of slavery, it could also create mixed emotions for those who may be playing the game and are under the pegi rated age of 18. Therefore it can be argued that ‘Assassins Creed III: Liberation’ poses a threat, as it may encourage individuals to use this verbal and physical violence, within the real world, as opposed to just the virtual wold.
  25. 25. AUDIENCES • The company decided to include a mixed – race female protagonist in Aveline de Grandpre to reach a wider audience. The gaming industry usually features male protagonists within their video games, as stereotypically companies consider their consumers to be male orientated. However, there are also females that do enjoy playing the video games, and thus by including a female protagonist, this allows the company to broaden their target audience, and gain new and more consumers. • The female protagonist being mixed – race also breaks the stereotypical video gaming ideals, of a white character. The fact that she is mixed race, allows the company to also reach a wider audience and broaden their target audience, as it allows consumers to see a part of them, being their culture or background. This has the potential to make the game personal to an individual or a group of people, as the theme of slavery is heightened within the ‘Assassins Creed III: Liberation’ game.
  26. 26. RESPONSES TO ‘ASSASINS CREED III: LIBERATION’ • Gamespot website has a positive response to the game, with the consumers appreciating the fact that the game features a female protagonist. • Eurogamer. Net features both positive and negative reviews, as the positive reviews include the positive response to the protagonist being foremost a female protagonist and mixed race. The negative reviews include the fact that the game takes time to collect winnings. • UK ign.com features both positive and negative responses. The positives being that the game features a creative narrative and main character; a female protagonist. However, the game features which are placed to be used, thus limiting personal control within the game.
  27. 27. FEMALE REPRESENTATION IN GAMING • The mixed – race female protagonist in Aveline de Grandpre subverts traditional ideals or stereotypes within the gaming industry. Traditionally, a white male protagonist is the most represented character presented within the gaming industry, as it is what most companies/ publishers believe the target audience are. However, the audiences of gaming are both males and females and consist of a wide range of backgrounds. • Therefore, by ‘Assassins Creed III: Liberation’ including a female protagonist who is mixed race, the audience can be expanded, and path the way for other publishers and companies to use both female protagonists and different cultural backgrounds.
  28. 28. PRODUCERS TARGETING , ATTRACTING, REACHING, ADDRESSING AND CONSTRUCTING AUDIENCES • The game is a hand held device, and therefore targets and attracts ‘on the go’ gamers who use a mobile phone, as opposed to a console and PC gamers. In addition, it features practical usage, and therefore addresses and reaches a demographic for those aged eighteen years and above. This therefore makes the game more appealing compared to others which consist of multiple wiring, remotes, Pc’s etc.